Later Poems — Inside the Classic

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Meynell, Alice, 1847-1922 Project Gutenberg 2007 Not confirmed
Poetry Readers of public-domain and historical texts
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Words 4,830
Reading time 21 min
Text sections 1

The catalog record for Later Poems — Inside the Classic provides practical reading context through 4,830 words, 21 min estimated reading time, and 1 detected text section.

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Alice Meynell's 'Later Poems' (1902) pairs devotional meditation with natural imagery, using shepherding, poverty, and the sea as figures for spiritual discipline. The poems often invert conventional valuations—refusal is prized, the way is the goal—and employ tight, repetitive structures to explore faith, motherhood, and artistic vocation.
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She looked for gratitude; content indeed With thus much that her nine years' love had bought.

Nay, even with less. This mother, giver of life, death, peace, distress, Desired ah! not so much Thanks as forgiveness; and the passing touch Expected, and the slight, the brief caress.

Oh filial light Strong in these childish eyes, these new, these bright Intelligible stars! Their rays Are near the constant earth, guides in the maze, Natural, true, keen in this dusk of days.

Another day awakes. And who-- Changing the world--is this? He comes at whiles, the Winter through, West Wind! I would not miss His sudden tryst: the long, the new Surprises of his kiss.

Vigilant, I make haste to close With him who comes my way. I go to meet him as he goes; I know his note, his lay, His colour and his morning rose; And I confess his day.

My window waits; at dawn I hark His call; at morn I meet His haste around the tossing park And down the softened street; The gentler light is his; the dark, The grey--he turns it sweet.

So too, so too, do I confess My poet when he sings. He rushes on my mortal guess With his immortal things. I feel, I know him. On I press-- He finds me 'twixt his wings.

_The colour of the electric lights has a strange effect in giving a complementary tint to the air in the early evening_.--ESSAY ON LONDON.

O, Heavenly colour! London town Has blurred it from her skies; And hooded in an earthly brown, Unheaven'd the city lies. No longer standard-like this hue Above the broad road flies; Nor does the narrow street the blue Wear, slender pennon-wise.

But when the gold and silver lamps Colour the London dew, And, misted by the winter damps, The shops shine bright anew-- Blue comes to earth, it walks the street, It dyes the wide air through; A mimic sky about their feet, The throng go crowned with blue.

Brief, on a flying night, From the shaken tower, A flock of bells take flight, And go with the hour.

Like birds from the cote to the gales, Abrupt--O hark! A fleet of bells set sails, And go to the dark.

Sudden the cold airs swing. Alone, aloud, A verse of bells takes wing And flies with the cloud.

UNTO US A SON IS GIVEN

Given, not lent, And not withdrawn--once sent-- This Infant of mankind, this One, Is still the little welcome Son.

New every year, New-born and newly dear, He comes with tidings and a song, The ages long, the ages long.

Even as the cold Keen winter grows not old; As childhood is so fresh, foreseen, And spring in the familiar green;

Sudden as sweet Come the expected feet. All joy is young, and new all art, And He, too, Whom we have by heart.

A DEAD HARVEST [IN KENSINGTON GARDENS]

Along the graceless grass of town They rake the rows of red and brown, Dead leaves, unlike the rows of hay, Delicate, neither gold nor grey, Raked long ago and far away.

A narrow silence in the park; Between the lights a narrow dark. One street rolls on the north, and one, Muffled, upon the south doth run. Amid the mist the work is done.

A futile crop; for it the fire Smoulders, and, for a stack, a pyre. So go the town's lives on the breeze, Even as the sheddings of the trees; Bosom nor barn is filled with these.

Whose is the speech That moves the voices of this lonely beech? Out of the long West did this wild wind come-- Oh strong and silent! And the tree was dumb, Ready and dumb, until The dumb gale struck it on the darkened hill.

Two memories, Two powers, two promises, two silences Closed in this cry, closed in these thousand leaves Articulate. This sudden hour retrieves The purpose of the past, Separate, apart--embraced, embraced at last.

"Whose is the word? Is it I that spake? Is it thou? Is it I that heard?" "Thine earth was solitary; yet I found thee!" "Thy sky was pathless, but I caught, I bound thee, Thou visitant divine." "O thou my Voice, the word was thine." "Was thine."

I saw a tract of ocean locked in-land Within a field's embrace-- The very sea! Afar it fled the strand And gave the seasons chase, And met the night alone, the tempest spanned, Saw sunrise face to face.

O Poet, more than ocean, lonelier! In inaccessible rest And storm remote, thou, sea of thoughts, dost stir, Scattered through east to west,-- Now, while thou closest with the kiss of her Who locks thee to her breast.

Alice Meynell’s Later Poems (1902) opens with a shepherdess whose flocks are thoughts—an image that immediately signals the collection’s preoccupation with interior discipline. The shepherd figure recurs not as a pastoral cliché but as a precise emblem of vigilance: the lady keeps her thoughts white, guards them from the steep, and folds them in for sleep. This opening poem establishes a pattern of spiritual housekeeping that runs through the volume, where the soul’s work is figured as tending, folding, and holding.

The catalog classifies this work under Adventure & Picaresque Fiction, a category that bears no relation to the actual content. The poems are meditative, devotional, and domestic in their imagery—far from the picaresque tradition. Readers should set aside the genre label and approach the text as lyric poetry concerned with faith, motherhood, and the artist’s relation to the divine.

The Economy of Refusal

Several poems in Later Poems build their argument around a paradox: what is withheld is more valuable than what is given. In “Why wilt Thou Chide?” the speaker declares, “Above all price is my refusal, Love,” and calls her denial a “sacred Nay” and a “jealous sad monopoly.” The beloved is crowned “lord of an unpurchasable word.” This is not coyness but a theological economy: refusal becomes a form of possession, and the rejected kiss is guarded as a unique honour.

Similarly, in “Via, et Veritas, et Vita,” a dialogue about attaining God ends with the startling claim that “the way was He.” The path is not a means to an end; it is the end itself. Meynell consistently collapses distance between seeker and sought, means and goal. The poems do not narrate a journey toward fulfillment but dwell in the condition of approach itself.

Figures of Poverty and Restraint

The Lady Poverty, once fair, has “lost her looks of late” and become a scolding housekeeper who “dusts and trims, / Watches and counts.” Meynell contrasts this modern, diminished figure with the one Francis met, who walked “with Obedience” and “with Chastity” in Umbria. The true Lady Poverty is found not in parlours but “in the stony fields” and “slender landscape and austere.” The poem mourns a lost ascetic ideal while locating its remnants in spare, thin landscapes.

Restraint also governs the collection’s form. Many poems use refrains and short lines—the shepherdess poem repeats its opening couplet three times. “The Fold” commands, “Bring back, bring back / Thy flocks of fancies,” and ends with the speaker offering to be the fold itself. The poems enact the containment they describe, folding thought into tight stanzas.

Motherhood and the Natural World

Meynell’s maternal poems avoid sentimentality. “Parentage” and “The Modern Mother” treat motherhood as a condition of watchfulness and loss. In “Cradle-song at Twilight,” the lullaby is shadowed by the “Roaring Frost” and the threat of winter. Nature in these poems is not a backdrop but an active force: the west wind in winter, the blue chimes of November, the dead harvest. The elements are personified with restraint—they are felt, not allegorized.

The sea appears in “At Night” as a figure for the unconscious or the divine: “The sea is at the door.” Meynell’s nature is never picturesque; it is the medium through which spiritual and emotional states are registered. The poems’ settings—hills, valleys, stony fields, dark folds—are both literal and symbolic, always tethered to the speaker’s inner landscape.

Readers coming to Later Poems from the adventure fiction category will find no plot, no journey, no picaresque roguery. Instead, the collection rewards attention to its compressed syntax, its theological inversions, and its quiet insistence that the way is the goal. Meynell’s voice is precise, restrained, and deeply interior—a poet of the fold rather than the open road. Approach these poems as you would a series of meditations: slowly, with an ear for repetition and a tolerance for paradox.

That rainy afternoon, Meynell’s tight lines—refusal as its own reward—kept me company. I kept pausing, staring at the window glaze, thinking how the way itself mattered. Later, nearly by accident, I reached for Poems — A Reader’s Guide, and found the same unhurried attention there, a quiet hand steadying the page. One small thought simply led to another.

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